Fetish Bones is the Don Giovanni Records debut of Philadelphia-based musician, artist, and activist, Camae, who performs under the name Moor Mother.The album features 13 songs conceived and recorded in Camae’s home studio using a variety of machines, field recordings, and analog noisemakers. The music is often harsh and strange, projecting both the visceral anger of punk and the expansive improvisatory spirit of Sun Ra. It’s an album intended as a form of protest and also as form of time travel -- a collection of sounds that are events themselves, telling stories rich in history about the journey that brings us to today and the future we are creating. Fetish Bones is not an album meant to help you forget. It is made so that you will remember the injustices that we bear witness to and participate in.Pre-order: http://bit.ly/2a77ufEListen to the track Deadbeat Protest: http://bit.ly/29Xc5nG

Wednesday, January 20, 2016

We're so excited to be playing shows again. We played in Durham and in Philly in the past month, and have a few more shows coming up we would like to share with you. Here they are:

1.22.2016 - NYC at the Silent Barn with Waxahatchee (solo) and Vagabon - pre sale tickets sold out but some tickets available at the door - 8 pm - benefit for Planned Parenthood on anniversary of Roe v. Wade - Facebook link here

Monday, September 7, 2015

Hey everyone! We've been on a bit of a break these past few months, but we have some new songs to share. We recorded these two tracks in the late winter of 2015 with our friend Dan Morse. Our friend Devin Ocampo mastered them, and we glad to have them out in the world.

The song "Body Camera" is something we wrote in response to the killing of Eric Garner and countless other shootings of unarmed people of color by police. We remain inspired by the Black Lives Matter movement and want to be part of working towards a world that is more just. Thank you for taking time to check these out.

We'll be back in the world soon, but until then we hope you will check these out.

Tracks are here and also on all other digital outlets (iTunes, Spotify, emusic, etc. - just search Trophy Wife Body Camera/Where is North ep).

Friday, December 12, 2014

We’re told, or led to believe, that in the end,
it’s all just a huge pile of content, sitting there, waiting. The
playing field has been leveled; the opportunities are endless. The
landfills, however, are not. They beckon and plead: fill me.

The result – the symptom – is
frontloading, getting the hook up front to grab attention. Because no
one has an attention span any more, we’re told. Because everything is
available to everyone at all times, no one gives a shit about anything,
and we’re becoming zombies, sleepwalking through our day trying to kill
content. Annihiliate this stream, this viral video, all week long.

But it’s bullshit is the thing.
There’s evidence everywhere: unlikely comebacks, TV series sprawling
out over six, seven seasons, killing cliché as they develop characters
to be considered outside (and far away) from a 22-minute frame, serial
podcasts, you name it. The diagnosis that we’re dulled by and slave to
the stream of content perpetuates itself when we buy in – but the
increasing realization that the quick-hit simulacra is bogus is just
over the horizon and easily visible with a few steps closer. Artists who
eschew the quick fix in favor of nuance and authenticity and the long
haul are those few steps.

And just over that horizon is Trophy Wife, with All the Sides,
their third long-player. This Philly two-piece painstakingly crafts
their mini-epics of bombast and nuance, and they do it by (get this) listening to each other.
By spending time in the practice space focusing on how many times, how
loud, how this part drops out so this other part can kick in. It sounds
simple because it is, but it can’t always be: guitarist Diane Foglizzo
and drummer Katy Otto are both sick players, able to stop on so many
dimes, drop oddly timed phrases in and out with nary a seam, and twist
distortion into contemplation (and vice versa). I can imagine how easy
it might be to just go off and let the sparse arrangement pick
up the metaphorical slack. But nope. Both members realize throughout
that they’re halves of a greater whole, and through this understanding –
through servicing the songs they write, at the expense of going off or
over – they show listeners that patience is rewarded, that things come
together over time, and that music, despite the new economy or whatever,
does not have to be disposable to be noticed. It can be heartfelt and
passionate and difficult and no less rewarding.

Audrey’s Song is a
perfect embodiment of everything Trophy Wife does well: picked single
notes yield to sheets of distortion, as Foglizzo and Otto’s vocals buzz,
conjoin, and fly away; toms roll, measures drop and reappear seemingly
on their own accord. It’s affecting stuff which rewards repeated
listens, which is what the band wants, more than a quick hit. This is
long haul stuff, the fragility and empowerment of sustenance.

Lyrics

i cannot separate all the things i want to sayfrom the things i shouldn't touchwho decides what's too much

silence won't protect youbrave prey betray this

shut up be quiet stay down don't try

2. pregnancy

they made a choice together

here she standsisn't surehe can come and go, he can leave and staygot himself a trophy put it on displaynow we knowwhere the burden is wornthey made a choice together

sing out child cubyou cant be denied so just let them trythe guts the glorythe patience the fury

what if i never told you

3. four

disassemble it and dialogue with me

hold on you can fix things

4. five

nous sommes des vampireson fait ce qu'on veut

5. cat and dog

am i less your daughteram i more a stranger

some of us will never be immunewhat does it matter to you anywaywho we fuck how much why to what endwhat does it matter to you who we fuck

6. risk big

you say you want itbut where will you be when it comesin the wild no promiseslike a hunter like a gatherer

you want a guaranteebut i am not a bottom lineput my faith in the faithlesslaid claim to the faceless

fatal investments are what you get hererisk big and you lose big

7. whitesburg, kentucky

what can we dowhen we're swallowed wholein this town

they'll come for youwhen there's not enoughto go around

use us for your powerbut we can't drink the wateruse us for your programsbut we are more than heartbreak

8. default

i don't want to defaultto a script that's based on fearwhen the walls keep crashing in on mei fight the urge to disappearsublimate detonate eradicate hesitatesublimate detonate

when you say its not okyou can call the shots you can break the trends

cant you see these patterns formingwhat is it that you believeare you going to defaulton your promises of changeyour steps forward are enticingare they merely a distractionwhat is it that you believecant you see these patterns forming

9. repetition

repetition runs down my facefalls out of my brainthe words the words i cant findrepetition runs down my thighsi wash it off but there's still the taste

you've left me cold but ill learn to feelcompulse like verb compulse like sound

shame keeps me in the darkthe darkness of hidden livesthe darkness of unshared truthsshame runs down my thighsi wash it off but there's still the taste